ESSENTIAL ELEMENTS for JAZZ ENSEMBLE Offers an Exciting Way to Introduce Young Players to the World of Jazz

A Comprehensive Method for Jazz Style and Improvisation

By Mike Steinel By Mike Steinel A Comprehensive Method for Jazz Style and Improvisation

From the trusted ESSENTIAL ELEMENTS family of band methods, ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE offers an exciting way to introduce young players to the world of jazz. Specifically designed to teach jazz basics to students with 1 or 2 years playing experience. #73999-DCAAGa Visit Hal Leonard Online at HL90001883 www.halleonard.com 59271EEJazz[guts]: 12/2/08 4:36 PM Page 1

DIRECTOR’S INFORMATION GUIDE ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE

A COMPREHENSIVE METHOD FOR JAZZ STYLE AND IMPROVISATION By MIKE STEINEL

WELCOME to the exciting world of jazz! This book will help you get started by introducing the important elements of jazz style and improvisation. You’ll also learn basic jazz theory and some highlights of the history of jazz.

The exercises and compositions in this book can be played by a full jazz ensemble, or individually with the CD. Listening to good jazz players is an extremely important way to learn, and playing along with the CD is an excellent way to hear how jazz is played. The full band arrangements in this book include “sample” improvised solos for study and reference. And remember…have fun playing jazz!

ABOUT THE AUTHOR Mike Steinel is an internationally recognized jazz artist and educator. He has recorded with the Frank Mantooth Orchestra and the Chicago Jazz Quintet, and performed with a wide variety of jazz greats including Clark Terry, Jerry Bergonzi, Bill Evans, and Don Ellis. Since 1987, he has been a member of the jazz faculty at the University of North Texas where he teaches jazz improvisation and jazz pedagogy. He is the author of Building A Jazz Vocabulary (a jazz text) and numerous compositions for jazz ensemble.

The University of North Texas pioneered jazz education when it instituted the first jazz degree program in 1947. Its flagship ensemble, the One O’clock Lab Band has toured four continents and has been the recipient of four Grammy nominations. Throughout its history, UNT has pro- duced a host of fine jazz talent. Alumni of the program can be found in all facets of jazz and commercial music.

Managing Editor: MICHAEL SWEENEY

2 CDs WITH EVERY BOOK One of the most important ways to learn to play jazz is by listening to professional players. Each book

4 comes with complete recordings of every example THE BASICS OF JAZZ STYLE and every full band arrangement. On the repeated Jazz In jazz it is common to use a “Doo” attack (soft Traditional ˙. Attacks and Releases ˙. Œ & Œ and legato) to begin a note. It is also common In traditional music (Concert & to end the note with the tongue. This “tongue- exercises, the rhythm section only plays the second stop” gives the music a rhythmic feeling. Band and Orchestra) you use a Doo - - - it Tah “Tah” articulation to begin a note and taper the note at the end. time. This allows students to hear the correct . Jazz œ ‰ Œ Ó 1. ATTACKS AND RELEASES w J interpretation the first time, then play along the Traditional œ ‰ŒÓ 4 w it J ------& 4 Doo - - - - second time. The full band arrangements include Tah Swing 8th Notes Sound Different Than They Look Jazz > Traditional > œ In swing, the 2nd 8th note of each beat is actually played like> the last third> of a œ œ œ triplet, and slightly accented. 8th notes in swing style are usuallyœ playedœ legato.œ œ & “sample” improvised solos recorded on separate Accenting “2 and 4” & 4 1 2 3 For most traditional music the important beats in 4/4 time are 1 2 3 4 1 and 3. In jazz, however, the emphasis is usually on beats 2 5 tracks for study and reference. and 4. Emphasizing6. SWING “2 and 4”gives8TH NOTES the music a jazz feeling. 3 œ œ 3 Traditional = œ œ œ j 4 . Sing the scat syllables of each exercise before you play it.> > or œ & 4 œ œ. œ. . Jazz > œ œ . œ> Œ Ó œ 2. ACCENTING 2 ANDœ 4 œ. > >œ œ œ œ œ > Traditional > > Œœ œœ. .œ œ > Tah œ œ œ œ. . 4 œ œ œTah Tah œ œ. Jazz Tah Tah Œ - > & 4 œ œ - > ^ > STARTS WITH THE BASICS Tah Tah œ œ - œ Tah Tah œœ Tah Œ œ- > > Doo œ œ- ^ Quarter Notes Bah Doo œ œ Bah Dot Long Accent Œ . PlayingQuarter notesDoo in swingand style Bah are usually (Full played Value Notes) Tenuto Doo(full value, accented) . Students are shown how the approach to jazz is (full value) Bah Doo detached (staccato) with accents on beats 2 and 4. BahBah Dot In jazz, notes marked with a dash (tenuto) or an accent are played full value Doo with a soft legato articulation. The scat (vocal) syllables “Doo”& and “Bah”œ willœ help you hear the sound of these articulations. Remember in jazz it is œ œ different than “traditional” music step by step. With important to play full value notes with a legato articulation. . ^ 7. QUARTERSThe “Bah” articulation AND is8THS used only when vocalizing the scat syllables.“ Bah” helps demonstrate= the appropriate& œ amountœ of accent. Note: œ. œ^ the help of vocal “scat” syllables, the correct style When4 articulating. on your instrument use the syllable “Dah.” œ ^ Dit & 4 œ Dot œ. Dit Œ œ- œ> - > Dot inflections come naturally. The concept of swing 8th Dit œ ^ Dot œ œ Dit Œ œ. ^ Doo Bah œ œ. Doo Bah > notes is taught gradually, using single pitches to start Dot Œ œ- œ - > 8. MORE QUARTERS AND 8THS Dit œ ^ Dot œ œ Dit Œ . Doo . Bah Doo with, then reinforced using easy scale patterns. Bah Dot

11 EASY INTRODUCTION TO JAZZ HARMONY

are four-note chords built in thirds (every other note of a scale). . Seventh Chords Building Jazz ChordsSeventh Chords One of the most challenging elements of jazz is Most jazz is harmonized with A Major Seventh Chord uses the first, third, fifth, and seventh notes of a major scale. C Major Seventh Chord w œ œ œ œ œ ˙ w learning the concept of jazz chords and harmony. 31. C Major Scale œ œ œ 4 œ œ 5 3 1 œ 5 7 & 4 œ œ 1 3 œ 7 8 Chords are taught by showing how they relate 5 6 3 4 1 2 Dominant Seventh Chord. . changes the chord to a Minor Seventh Chord Major Seventh Chord to familiar scales. Only the basic types are shown Lowering the top note (called the seventh) of the Major Seventh Chord changes the chord to a Lowering the second (called the third) and top note (seventh) of a C Minor Seventhœ Chord C Dominant Seventh Chord œ b œ bœ 32. bœ bœ ˙ (major 7th, dominant 7th, minor 7th) and they C Major Seventh Chord œ œ œ ˙ œ 4 œ œ œ œ ˙ œ œ & œ œ are immediately reinforced with a series of Chord Symbol always indicates the root or the Chord Symbols. The first lettert indicate in a the chord type (major or dominant for example). Chords have specific labels called bottom note of the chord. The letters and numbers on the righ Chord Symbol 7 simple exercises. Chord Name Cma 7 C Major Seventh C 7 C Dominant Seventh Cmi C Minor Seventh

(Play either note) (Cma7 ) 37. BLUES WORKOUT – Roots and Sevenths . . œ w œ œ œ œ œ ˙ œ œ œ w IMPROVISATION MADE EASY 33. MAJORC 7SEVENTH CHORD WORKOUT ˙ œ . - > 4 4 ˙ ˙ ˙ œ œ œ & 4& 4 ˙ ˙ w . - > ˙ œ œ . - bœ ˙ ‘ F7 Building on the concept of jazz chords, the Blues ‘ (Play either note) 7 > C7 ‘ C ( ) . œ.œ œ œ w 7 bœ . ˙- bœœ œ˙œ w 34.& DOMINANT SEVENTH CHORD WORKOUTG œ œ œ œ . - ‘ Progression is taught as a series of dominant 7th œ œ ˙ œ F˙7 > > 4 . - bœ ˙ b ˙ ‘ ˙ œw œ œ C7 & 4 ˙ > . -œ œ ˙. - > ˙ > .œ -œ bœ ˙ chords. Improvisation is introduced gradually, 38. BLUES WORKOUT – Roots, Thirds, and Sevenths > œ œ Œ . 7 . - bœ ˙ . C7 (C ) > ˙ . & 4 starting with 2-measure phrases using only a few œ œ œ > bœ ˙ ‘ ‘ F7 C7 > ‘ œ chord tones at a time. Students are improvising œ œ bœ & G7 > ˙ ‘ nœ F7 > œ œ b ‘ nœ C7 before they have a chance to be worried about it! > œ ˙ œ œ œ ˙ œ > > > œ œ bœ ˙ 39. MAKE UP YOUR OWN – 2-Bar Solos using Roots,> >Thirds, andœ n œSevenths . > œ bœ ˙ ˙. Œ . They are shown how jazz first evolved around C7 > & 4 Band œ œ œ œ Solo “jazzin’ up” the melody, and are taught basic scales > bœ œ œ ’ ’ F7 Band > > œ œ. œ bœ ’’ > - ˙ bœ œ œ ’ ’ ’ ’ œ C7 > œ œ bœ œ œ to use when improvising - Blues Scale, Dominant Solo > œ œ œ œ ’ G7 > > > . - bœ ˙ & ’ ’’ Band F7 > bœ œ œ ’ ’ ’ n C7 ’ œ œ œ ˙ or Mixolydian Mode, Bebop Scale, and the > œ œ œ œ Solo > > bœ ˙ ’ ’ ’’ Building the Dominant Scale > bœ œ œ ’ ’ ’ ’ . Dorian Mode. You can build a “dominant scale” by inserting notes betwee h This scale “fits” (sounds like) the D 59271EEJazz[guts]: 12/2/08 4:36 PM Page 3

The Swing Era In the 1930’s and 40’s, the orchestras of Duke Ellington, Count Basie, Benny Goodman, Glenn Miller, and FletcherDuke Henderson Ellington created a new type of dance music called swing. The strong beat and smooth “big band”sound made swing the most popular music of the time. JAZZ HISTORY AND PEOPLE Edward Kennedy “Duke” Ellington (1899–1974) grew up in Washington, D.C. and led a band nearly all of his life. Although Duke was a gifted pianist,e over he one is most thousand remembered works. Ellington for his compositions is considered and orchestrations. It is estimated that he wrot The method book is laid out chronologically by by many to be the most important jazz composer of the 20th century. Count Basie William “Count” Basie was born in Red Bank, important historical periods in the development of New Jersey (1904), but his style of big band music is associated with Kansas City. In the early 1930’s, jazz music. While the students are learning the Basie joined the Bennie Moten Orchestra, a “riff” styled band that specialized in playing the blues and performed primarily in the midwest. When music, they are also learning about the important Moten died in 1935 the “Count” took over the band, and under his leadership it became one made him a recognizable figure the world over.tertaining showman. composers and performers associated with each PERFORMANCEof the most popular jazz bands of theSPOTLIGHT era. Even after Basie’s death in 1984,The Count Basie stylistic period. Styles covered: Early Jazz, Swing 99. “BOPPIN’Orchestra AROUND” continued to – tourFull andBand please Arrangement jazz # audiences% around the world. & 4 Œ Œ . Era, Bebop, Latin and Fusion. . œ#œ œ œ nœ œ nœ œ Œ œ Mike Steinel # œ. bœ œ ˙ bœ nœ œ 3 3 > œ œ œ œ nœ & n ^ . ˙ œ œ#œ œ œ nœ œ œ œ bœ œ œ b > œ œ œ Œ Œ œ bœ nœ ^ - œ œ œ œ Œ # œ œ nœ œ œ 7 FULL BAND ARRANGEMENTS œ#œ . 1. - & nœ œ œ œ > To Coda 2. œ œ #œ #œnœ ˙ ^ ﬁ Œ œbœ nœ div. œ œ œ Ó . ^ {14} Solos œ œnœ œ . œ œ œ Ó Carefully paced throughout the book, these full # G7 #œnnœ œ & . w w w w w w nw#w w ’ ’ ’ C7 arrangements provide a focal point for the material ’ ’ ’ ’ ’ ’ ’ 7 ’ ’ w bwnw w # G nw w w w w nw w ’ ’ ’ ’ & w w w w w w #w D7 in each unit. They also provide rewarding ’ ’ ’ ’ w w#w w G7 w w #w w w ’ ’ w w w nw#w w D.S. al Coda ﬁ CODA ’ ’ w w w . # ’ ’ ’ ’ . performance pieces even in the beginning stages. & Œ œ bœ nœ ^ œ œ Ó œ œ œ nœ œ Œ œ bœ nœ œ div.œ œ^ The arrangements start out very easy and then œ œ œ œ œ Ó 100. DEMONSTRATION SOLO FOR “BOPPIN’ AROUND” œ # G7 œ œ nœ gradually progress in complexity as more & 4 Œ œ œ œ œ bœ œ Ó œ C7 n œ nœ œ œ œ œ #œ nœ ˙ ‰ j œ bœ ´œ bœ œ nœ # G7 œ œ œ Œ ‰ œ techniques and concepts are learned. & nœ œ#œ œ œ nœ#œ œ D7 J œ bœ œ ˙ Œ œ G7 œ œ œ œ œ #œ nœ œ œ œ bœ nœ œ # G7 œ œ jœ. ∑ & œ œ œ#œ œ œ œ #œ nœ œ j ^ 7 œ œ œ. œ œ C QUICK START THE RHYTHM SECTION œ œ ∑ Œ œ œ bœ œ bœ œ œ # Gj7 bœ bœ bœ & nœ . Œ Ó Œ D7 œ œ ‰ œ œ œ œ œ . G7 J ´ œ œ nœ jœ Critical to the success of any jazz ensemble #œ nœ œ œ ˙. Œ œ ∑ is having a rhythm section that can play in a stylistically correct manner. In addition to learning concepts along with the other 12A FOR PIANO ONLY instruments, each rhythm section book includes Jazz Chord Voicings Voicing. Jazz Chords can be played many different ways. The way a specific chord is played and which notes are used is called a

Jazz voicings can have as few as two notes or as many as eight or more. 7 Cmi7 additional material specifically designed to 4Cma7 C & 4 w w bw 3 Thirds and Sevenths are Important 3 3 address the unique techniques of these important These notes determine the quality (major, minor, w bw bw 7 or dominant) of the basic chord. Notice in this ? 4 7 w 7 w example how simple voicings made up of only 4 w Root Root Root players. This allows the rhythm section to play roots, thirds, and sevenths sound full and complete.

C Major Thirteenth Chord along with the full band in a rehearsal setting, Ninths, Elevenths, and Thirteenths 13 Extended C Major Scalew w w (Cmwa ) To make jazz voicings sound jazzy, pianists often w w w w w include upper extensions (ninths, elevenths, and 4 w w but also gives each player the individualized thirteenths) in the chord voicing. These notes are & 4 w the same pitches as the 2nd, 4th, and 6th notes of 8 9 10 11 12 13 14 15 the major scale from which the chord is built. information they need.

chord symbol indicates a seventh chord. Note: Ninths and thirteenths can be added even though the

6A Comping With Jazz Voicings compete with the rest of the band. In order to achieve this, It is important to remember that “comping” must compliment and not otes. pianists and guitarists improvise chord voicings that supply the most necessary harmonic information with the least amount of n The Ride Cymbal FOR DRUMSquate ONLY When you are first learning to voice chords, it is best to start withIn two-,jazz marked three-, or“swing” four-note the ride combinations. cymbal reinforces These theprovide quarter an noteade walking bass line provided by the bass player. These two instr picture of the harmony without sounding thick or muddy. Heresupply is a blues the rhythmicprogression foundation harmonized of swing three music. different ways.

b b 7 Blues in B using two-note voicings (thirds and sevenths)b 7 F7 Eb 7 B uments b Eb 7 B w w w B 7 The Basicw Ride Cymbal7 Patternb 7 w 3 w bw 7 bw 3 nw w b 7 bw 3 w The ride cymbal7 pattern is usually played3 in a triplet3 feel, however it is not‘ always strict. At slow tempos the pattern is very ? 4 7 3 ‘ bb 4 ‘ ‘ ‘ faster‘ tempos the eighth notes are played more evenly. In this bo

The basic Ride Cymbal Pattern is notated as: ok we will always notate the ride pattern in eighth notes. b ÷ 4 triplety but at Blues in B using three-note voicings (thirds, sevenths, ninths, and thirteenths)4 ‹ ‹ ‹ ‹ ‹ These voicings are used for exercises 37–39 and 41–45. The basic Ride Cymbal Pattern sounds 7like: b 7 b 7 ‹ b 7 Bb 7 F E B Bb 7 E 4 3 ÷ 4 w ‘ 3 b 4 ‘ w ‘ w 9 w 9 ‹ 13‹ ‰ ‹ b ‘ ‘ ‘ w 13 w bw nw 3 ‹ ‹ ‰ & 4 w 13 bw 9 nw 3 7 7 ‹ w 3 7 The Basicb Swing Patternn – Playing “time”b This is the basic swing pattern for Jazz Drumming (with and without bass drum). Practice each until they are “automatic”

÷ 4 ‹ ‹ ‹ ‹ ‹ ‹ 4 œ . . ‹œ œ ‹œ . 4 ‹ ‹ ‹ ‹ ‹ ‹ ÷ 4 . Œ ‹ Œ ‹ .

Achieving Va i t 59271EEJazz[guts]: 12/2/08 4:36 PM Page 4

4 THE BASICS OF JAZZ STYLE

Attacks and Releases Traditional Jazz In traditional music (Concert ˙. ˙. In jazz it is common to use a “Doo” attack (soft Band and Orchestra) you use a & Œ & Œ and legato) to begin a note. It is also common “Tah” articulation to begin a note to end the note with the tongue. This “tongue- and taper the note at the end. Tah Doo---it stop” gives the music a rhythmic feeling.

1. ATTACKS AND RELEASES 4 wTraditional œ wJazz œ . & 4 J ‰Œ Ó J ‰Œ Ó .

Tah Doo------it

Accenting “2 and 4” Traditional> > Jazz > > For most traditional music the important beats in 4/4 time are & œ œ œ œ & œ œ œ œ 1 and 3. In jazz, however, the emphasis is usually on beats 2 and 4. Emphasizing “2 and 4”gives the music a jazz feeling. 1234 1234

2. ACCENTING 2 AND 4 4 Traditional> > > > Jazz > > > > & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ ŒÓ

- Playing Doo and Bah (Full Value Notes) œ œ> In jazz, notes marked with a dash (tenuto) or an accent are played full value with a soft legato articulation. The scat (vocal) syllables “Doo” and “Bah” will Tenuto Long Accent help you hear the sound of these articulations. Remember in jazz it is (full value) (full value, accented) important to play full value notes with a legato articulation. Doo Bah Note: The “Bah” articulation is used only when vocalizing the scat syllables.“ Bah” helps demonstrate the appropriate amount of accent. When articulating on your instrument use the syllable “Dah.”

3. DOO AND BAH 4 Traditional> > > > Jazz > & 4 ˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙ . ˙ œ Œ

Tah Tah Tah Tah Tah Doo Doo Doo Bah Doo Doo - - - - it

œ. œ^ Playing Dit and Dot (Short or Detached Notes)

In jazz, notes marked with a staccato or a roof top accent are about Staccato Roof Top Accent half of full value. The scat syllables “Dit” and “Dot” will help you hear (short, unaccented) (short, accented) the sound of these articulations. Dit Dot

4. DIT AND DOT 4 Traditional. . . . . Jazz. . . ^ . ^ ^ & 4 œ Œ œ Œ œ œ œ Œ œ Œ œ Œ œ œ œ œ . œ ŒÓ

Tah Tah Tah Tah Tah Dit Dit Dit Dot Dit Dot Dot

5. DOO, BAH, DIT, AND DOT 4 - - - > - > . . . ^ . ^ ^ & 4 ˙ ˙ œ œ œ œ œ Œ œ Œ œ œ œ œ . œ ŒÓ

Doo Doo Doo Bah Doo Bah Dit Dit Dit Dot Dit Dot Dot 59271EEJazz[guts]: 12/2/08 4:36 PM Page 5

Swing 8th Notes Sound Different Than They Look 3 3 j In swing, the 2nd 8th note of each beat is actually played like the last third of a œ œ = œ œ œ or œ œ triplet, and slightly accented. 8th notes in swing style are usually played legato. > >

6. SWING 8TH NOTES Sing the scat syllables of each exercise before you play it.

4 Traditional...... Jazz- > - > ^ - > - > ^ & 4 œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ .

Tah Tah Tah Tah Tah Tah Tah Tah Tah Tah Doo Bah Doo Bah Dot Doo Bah Doo Bah Dot

. ^ . ^ Quarter Notes & œ œ œ œ & œ œ œ œ Quarter notes in swing style are usually played = detached (staccato) with accents on beats 2 and 4. Dit Dot Dit Dot

7. QUARTERS AND 8THS 4 . ^ . - > - > ^ . ^ . - > - > ^ & 4 œ œ œ Œ œ œ œ œ œ Œ œ œ œ Œ œ œ œ œ œ Œ .

Dit Dot Dit Doo Bah Doo Bah Dot Dit Dot Dit Doo Bah Doo Bah Dot

8. MORE QUARTERS^ ^ AND 8THS ^ ^ ^ 4 & 4 œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ œ œ Ó . . . - > - . - > - > - > - Dit Dot Dit Dot Doo Bah Doo Dot Dit Dot Doo Bah Doo Bah Doo Bah Doo Dot

Important Tip: Notes at the ends of phrases are usually played short and accented.

œ- œ. œ> œ^ Jazz Articulation Review These are the four basic articulations Tenuto Staccato Long Accent Roof Top Accent in jazz and the related scat syllables (full value) (short, unaccented) (full value, accented) (short, accented) for each. Doo Dit Bah Dot

Quarter Notes Staccato Legato Swing 8th Notes œ. œ^ œ. œ^ œ- œ> œ- œ> œ- œ> œ- œ> Quarter notes in swing & 8th notes in swing style jazz are usually style jazz are usually played staccato. Dit Dot Dit Dot Doo Bah Doo Bah Doo Bah Doo Bah played legato. 59271EEJazz[guts]: 12/2/08 4:36 PM Page 6

9. SWINGIN’ THE SCALE 4 - > - > & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ -œ œ -œ œ ------œ œ -œ œ œ œ ˙ - > - > > > > > > > > > > - > Doo Bah Doo Bah Doo Bah Doo Bah continue sim. Doo Bah Doo Bah Doo

10. MOVIN’ AROUND 4 ^ ^ & 4 œ œ œ œ œ œ œ œ œ œ -œ œ œ œ œ œ -œ œ ˙ œ. - > - > -œ > - > ˙ . > - > - > > Dit Dot Doo Bah Doo Bah Doo Bah Doo Bah Doo Dit Dot Doo Bah Doo Bah Doo Bah Doo Bah Doo ^ ^ ^ & œ œ œ œ œ . œ. œ - -œ œ -œ œ - œ ˙ - -œ œ œ. œ œ œ œ ˙ > > > > > > - > Dit Dot Doo Bah Doo Bah Doo Bah Doo Bah Doo Doo Bah Doo Bah Dit Dot Doo Bah Dot Doo

11. RUNNIN’ AROUND ^ ^ 4 œ ˙ œ œ œ ˙ & . œ œ œ œ œ œ œ œ œ . -œ œ œ œ œ œ -œ - > - > - > - > > - > - > > Dit Dot Doo Bah Doo Bah Doo Bah Doo Bah Doo Dit Dot Doo Bah Doo Bah Doo Bah Doo Bah Doo . ^ ^ & œ œ œ œ œ œ ˙ œ œ . - -œ œ -œ œ - - -œ œ -œ œ œ œ œ œ œ ˙ > > > > > > > - > - > Dit Dot Doo Bah Doo Bah Doo Bah Doo Bah Doo Doo Bah Doo Bah Doo Bah Doo Bah Doo Bah Dot Doo

12. TRADIN’ OFF 4 Trumpets ^ Saxophones ^ & 4 œ œ œ œ œ œ œ œ œ . œ œ œ œ œ ˙ œ œ -œ . -œ -œ œ ˙ - > - > - > - > - > > > > Doo Bah Doo Bah Dit Dot Doo Bah Doo Bah Doo Doo Bah Doo Bah Dit Dot Doo Bah Doo Bah Doo Trombones . ^ All Sections ^ . & œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ - - - ˙ - - -œ -œ œ œ œ œ ˙ - > > > > > > > > - > Doo Bah Doo Bah Dit Dot Doo Bah Doo Bah Doo Doo Bah Doo Bah Doo Bah Doo Bah Doo Bah Dot Doo

13. JA-DA ^ ^ Bob Carleton 4 . œ ŒÓ . œ & 4 œ ˙ . ˙. œ œ œ œ œ. œ œ ˙ . ˙. . - > - > œ . Dit Doo Dit Doo Doo Bah Doo Bah Dit Dot Dot Dit Doo Dit Doo ^ ^ ^ ^ ŒÓ & œ #œ œ œ œ œ nœ -œ œ -œ œ #œ. œ n-œ œ œ ˙ - > - > . > > > Doo Bah Doo Bah Dit Dot Dot Doo Bah Doo Bah Dit Dot Doo Bah Dot Doo ^ œ & œ œ œ œ #œ œ nœ œ œ ˙ œ ˙. . ˙. - > - > . - > . . Doo Bah Doo Bah Dit Dot Doo Bah Dit Doo Dit Doo Dit Doo ^ ^ ^ Œ ŒÓ & œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ. œ - > - > - > - > - > - > œ Doo Bah Doo Bah Dit Dot Doo Bah Doo Bah Dit Doo Bah Doo Bah Dit Dot Dot 59271EEJazz[guts]: 12/2/08 4:36 PM Page 7

When beats are played early (anticipated) or played late (delayed), Syncopation in Jazz the music becomes syncopated. Syncopation makes the music sound “jazzy.”

14. SYNCOPATING BY ANTICIPATING THE BEAT (PLAYING EARLY)

4 ˙ ˙ (Syncopated)œ. œ> ˙ œ. œ^ ˙ œ(Syncopated). -œ œ> ˙ & 4 J Anticipated Anticipated

15. SYNCOPATING BY DELAYING THE BEAT (PLAYING LATE) (Syncopated) (Syncopated) 4 ˙ ˙ œ> . ˙ œ. œ^ ˙ œ- œ^ ˙ & 4 ‰ ‰ J Delayed Delayed

16. WHEN THE SAINTS GO MARCHING IN – Without Syncopation 4 James Black and Katherine Purvis & 4 Œ œ œ w Œ œ œ w œ. . . œ. . .

& Œ œ œ ˙ ˙ ˙ ŒÓ œ. . . ˙ w œ

17. WHEN THE SAINTS GO MARCHING IN – With Syncopation 4 ^ ^ & 4 Œ œ œ œ w Œ œ œ œ w œ . - > œ . - > Dot Dit Doo Bah Dot Dit Doo Bah ^ & Œ œ ˙ j j ŒÓ œ œ. -œ œ. œ ˙ œ. œ w œ > > > Dot Dit Doo Bah Doo Bah Doo Bah

18. RHYTHM STUDY FOR JA-DA 4 - > - > - > - > . - > - > - > . ^ - > - > & 4 œ œ ˙. œ œ ˙. œ œ œ œ œ œ œ ˙. Œ œ œ œ œ œ œ œ œ œ œ ˙

Doo Bah Doo Bah Doo Bah Doo Bah Dit Doo Bah Doo Bah Doo Bah Dit Dot Doo Bah Doo Bah

Bob Carleton 19. JA-DA – Full Band Arrangement – With Syncopation 4 div. Arr. by Mike Steinel & 4 œ ˙. œ œ Œ œ ˙. œ -œ - œ ˙œ. - œ -œ œ . -œ œ ˙. œ œ ˙. #-œ#œ ˙. > > > > > - > > ^ div. ^ & œ œ œ œ Œ œ œ œ œ#œ œ nœ œ œ œ œ œ œ #œ œ nœ #œœ œ œœ œ œ nœ ˙. - > - > . - - œ ˙ œ œ œ œ # œ œ - > - > . - > > > - > - > . div. œ ˙ & nœ œ œ ˙. #œ . œ œ œ ˙. Œ n œ œ œ œ ˙ œ œ ˙ - #œ ˙. -œ œ -œ œ . b-œ > - > - > - > > > > 59271EEJazz[guts]: 12/2/08 4:36 PM Page 8

20. READING SWING RHYTHMS To play the correct rhythm with a good jazz feel, think (or feel) the basic 8th note pulse and the jazz syllables.

To play the correct rhythm think (œ œ œ œ) of the underlying 8th note pulse. (œ œ œ œ) 4 œ œ> œ œ^ œœœ^ œ œ> œ œ^ œ. œ^ & 4 Ó Ó Ó J Ó

Doo Bah Doo Dot Doo Doo Dot Doo Bah Doo Dot Doo Dot To play the correct feel think of the jazz syllables. (œ œ œ œ) (œ œ œ œ) œ œ> œ œ^ œ œ> . œ œ> œ œ^ œ œ. œ^ & Ó J Ó Ó ‰ J Ó

Doo Bah Doo Dot Doo Bah Doo Bah Doo Dot Doo Dit Dot

21. SWING RHYTHM WORKOUT #1 (œ œ œ œ ) (œ œ œ œ ) 4 œ. œ^ œ- œ> œ- œ^ œ. œ^ œ- œ- œ^ œ. œ^ œ-. œ^ & 4 ∑ ∑ J ∑

Dit Dot Doo Bah Doo Dot Dit Dot Doo Doo Dot Dit Dot Doo Dot (œ œ œ œ ) (œ œ œ œ) (œ œ œ œ) œ. œ^ œ- œ> . œ. œ^ œ- œ. œ^ œ. œ^ œ- œ. œ^ . & J ∑ ‰ J ∑ J J ∑ .

Dit Dot Doo Bah Dit Dot Doo Dit Dot Dit Dot Doo Dit Dot

22. SWING RHYTHM WORKOUT #2 4 ^ ^ ^ ^j & 4 œ œ œ œ œ Œ œ œ œ Ó œ œ œ œ œ œ œ. œ Ó > > . > > . Doo Bah Doo Bah Dot Dit Doo Dot Doo Bah Doo Bah Dit Dot Doo Dot ^ j ^ ^ ^j & œ œ œ œ œ Œ œ œ. œ Œ œ œ œ œ œ Œ œ œ ‰ œ Ó > > - > > > - . Doo Bah Doo Bah Dot Doo Bah Dot Doo Bah Doo Bah Dot Doo Dit Dot ^j j ^j & œ œ œ œ œ œ œ œ. œ Ó œ œ œ œ œ œ. œ œ ‰ œ Ó . > > . > > > - > - . Doo Bah Doo Bah Dit Doo Bah Doo Dot Doo Bah Doo Bah Doo Bah Doo Dit Dot

23. SWING RHYTHM WORKOUT #3 Remember to keep the 8th note pulse going in your head. (œ œ œ œ ) (œ œ œ œ ) (œ œ œ œ ) (œ œ œ œ ) 4 œ. œ œ ˙ œ. œ ˙ œ œ. ˙ œ œ. œ ˙ . & 4 J J ‰ J .

Dit Doo Bah Doo Bah Doo Bah Doo Dit Bah

24. SWING RHYTHM REVIEW 4 . ^ > > > > . ^ > > > > & 4 œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙ ^ j ^ j & œ œ œ œ ‰ œ œ œ œ œ ˙ œ œ œ œ ‰ œ œ œ œ œ ˙ . - . > > > . - . > > > œ- œ> . œ- œ. œ> œ œ> œ œ> ˙ œ- œ> . œ- œ. œ> œ œ> œ œ> ˙ . & J ‰ J J ‰ J . 59271EEJazz[guts]: 12/2/08 4:36 PM Page 9

9 ”Jazzin’ Up” the Melody with Syncopation Syncopation is the first step to improvising in a jazz style. Early jazz musicians syncopated all types of music, including marching band tunes, hymns, and blues songs. They called it raggin’ the melody.

25. “JAZZIN’ UP” A-TISKET A-TASKET ^ 4 Original Melody ^ ^ ^ ^ ^ ^ ^ & 4 œ ˙ œ œ ˙ œ œ œ œ œ œ ˙ œ Œ œ œ œ œ œ œ œ ˙ ...... œ. œ . ˙ . . œ œ. Jazzed Up (syncopated) Melody ^ & œ ˙ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙ œ Œ . . > . > . > . Dit Doo Dit Doo Bah Dit Doo Bah Dot Dit Doo Bah Dit ^ ^ ^ ^ & œ œ œ œ œ œ œ ˙ œ œ œ œ ˙ . . > . . œ > œ Dit Dot Dit Doo Bah Dot Doo Dit Dot Dit Doo Bah Dot

”Jazzin’ Up” the Melody by Adding Rhythms Adding rhythms to a melody is another easy way to improvise in a jazz style. Start by filling out long notes with repeated 8th and quarter notes. Remember to swing the 8th notes (play legato and give the upbeats an accent).

26. “JAZZIN’ UP” JINGLE BELLS 4 Original^ Melody ^ ^ ^ ^ ^ ^ ^ ^ J. Pierpont & 4 œ œ ˙ œ œ ˙ œ œ w œ œ œ œ œ œ ˙ œ œ œ . . . œ. œ . . . . . œ w Jazzed Up Melody (rhythms added) & œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ w > > > > > > œ. > Doo Bah Doo Bah ^ Doo Bah Doo^ Bah Doo Bah Doo Bah Dit Doo Bah & œ œ œ œ œ œ œ œ œ. œ œ œ œ œ. œ œ œ. œ œ w > > > > > > > Doo Bah Doo Bah Dit Dot Doo Bah Dot Dit Doo Bah Doo Bah Doo Bah Dit Doo Bah

MAKE UP YOUR OWN (IMPROVISE) 27. LONDON BRIDGE Complete the melody in your own “jazzed up” way. Use only the notes shown in parentheses. Slashes on the staff indicate when to improvise. Original Melody 4 ^ ^ ^ ^ ^ ^ ^ ^ & 4 œ œ œ œ œ ˙ ˙ œ ˙ œ œ œ œ œ ˙ ˙ . . œ. œ. œ œ. . . œ. ˙ œ. ˙. Jazzed Up Melody Band ^ Solo Band ^ Solo ’’’’ ’’’’ ’’’’ ’’’’ & œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ > . . > ()œ () > . . > ()œ ()œ

Band ^ ^ Solo – complete the melody & œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ ’’’’ ’’’’ ’’’’ ’’’’ > > > > > > > >

Helpful Hint: Using The Melody Is Never Wrong When starting to improvise, keep the melody in your mind. It is a helpful guide for beginning improvisers. 59271EEJazz[guts]: 12/2/08 4:36 PM Page 10

10 16

Improvising on the Melody Jazz musicians often improvise “on” or “around” the melody of a song. There are many ways to change a melody to create an improvisation.

53. ST. LOUIS BLUES – Original Melody # 4 œ . . & 4 œ œ œ ˙ ‰ jœ œ bœ -œ œ w ˙. Œ œ œ œ œ ˙ ‰ jœ œ bœ -œ œ #œ > #œ > # . & w ˙. Œ œ œ œ ‰ bœ œ œ œ -œ œ w ˙. Œ œ ˙ J >

54. ST. LOUIS BLUES – Changing Rhythms # 4 œ. j ^ & 4 ˙ -œ œ œ œ œ œ b-œ œ. ‰ œ w ˙. Œ œ œ œ. œ œ œ œ œ bœ œ œ œ > > . #œ # j . Œ œ ‰ bœ œ œ œ ‰ . Œ & w ˙ œ. . -œ œ œ J œ - . œ w ˙ > >

55. ST. LOUIS BLUES – Repeating Parts of the Melody When there are pauses in the melody, repeat notes or groups of notes. # 4 œ œ œ œ œ œ œ. œ. œ. & 4 œ œ œ œ œ b -œ œ ˙ b -œ œ ˙. Œ œ œ œ œ œ œ œ œ œ b -œ œ . > > œ . > # Œ œ œ ‰ bœ œ œ œ œ Œ & w ˙. œ œ œ œ œ J œ œ w ˙.

56. ST. LOUIS BLUES – Filling in the Skips Skips in the melody can be filled in with the scale steps. # 4 . œ. œ œ . & 4 œ œ œ œ œ œ œ œ bœ œ w ˙. Œ œ œ œ ˙ œ œ œ bœ -œ œ œ œ œ >

# œ. & w ˙. Œ œ œ œ œ œ œ œ œ œ b -œ œ w ˙. Œ œ. œ >

57. ST. LOUIS BLUES – Adding “Wrong” Notes (Chromatic Ornamentation) #A “wrong”> or dissonant> note (usually a half step off) can create a great jazz effect if it leads into a “good” melody note. 4 œ bœ nœ. œ œ œ bœ. œ Œ œ œ œ œ bœ. œ & 4 œ œ#œ œ œ - œ w ˙. œ#œ œ œ œ œ œ - œ > > . > > # . & w ˙. Œ aœ nœ #œ œ œ œ bœ œ œ œ œ -œ œ w ˙. Œ > . > > 59271EEJazz[guts]: 12/2/08 4:36 PM Page 11

1117 PERFORMANCE SPOTLIGHT

58. ST. LOUIS BLUES – Full Band Arrangement W. C. Handy ~5} Arr. by Mike Steinel # 4Intro 4 . œ . & 4 . œ œ œ ˙ ‰ j œ œ bœ -œ œ w ˙. Œ #œ > # j œ. & œ œ œ œ ˙ ‰ œ œ b -œ œ w ˙. Œ œ œ œ #œ > œ ˙

1. 2. div. ^ œ> # - . -œ -œ œ^ -œ œ & ‰ bœ œ œ œ -œ œ w ˙. Œ . ˙ bœ œ œ œ œ Œ œ J > . {19} G7 Solos - ^ C7 # ˙. œ œ Play 1st time only & . (’’’’) ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ Solo starts here (use the melody as a guide for improvisation) # G7 D7 C7 G7 & ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’.

{31} Full Ensemble (Dixie-Style) # . œ> œ . œ j & œ œ œ œ œ œ œ œ b-œ œ œ nœ œ œ œ œ œ ˙œ. #œ œ. œ nœ œ. œ > # . ^ & bœ œ œ. œ œ ˙œœ œ œ œ -œ œ Œ œ œ œ œ œ œ œ bœ œ œ. œ œ œ aœ œ œ œ œ . œ > . œ . œ

^ div. . ^ U # . œ œ œ & bœ œ œ Ó œ œ œ œ œ bœ œ œ œ œ ‰ œ nœ bœ œ œ œ Œnbœ œ ˙ - . œ œ œ. œ œ J œ œ bœ œ nœ - œ ˙ - . - >

59. DEMONSTRATION SOLO FOR ST. LOUIS BLUES G7 C7 # 4 œ. œ œ. œ œ œ œ œ ˙ œ. œ œ œ. & 4 J œ œ œ œ b œ œ œ œ ˙ œ œ. œ œ œ. b œ œ œ œ > œ œ > G7 D7 ^ C7 G7 ^ # œ. j & ˙. œ Œ œ nœ #œ œ #œ œ œ œ nœ œ b œ œ œ œ œ œ œ ˙. Œ œ ˙ . œ . >

}G7 C7 # œ. œ œ œ œ œ œ. œ. œœœ œ œ œ œ. & Œ J b œ œ œ œ œ w œ œ œ bœ œ b œ œ œ J . > . . . >

G7 D7 C7 G7 ^ # œ œ œ. œ. j -œ & ˙. Œ ∑ œ œ œ. œ œ œ. b œ œ ˙ ‰ œ œ œ b œ œ Ó > 59271EEJazz[guts]: 12/2/08 4:36 PM Page 12

1212A FOR PIANO ONLY

Jazz Chord Voicings Jazz Chords can be played many different ways. The way a specific chord is played and which notes are used is called a Voicing. Jazz voicings can have as few as two notes or as many as eight or more.

4Cma7 C7 Cmi7 Thirds and Sevenths are Important & 4 w w bw These notes determine the quality (major, minor, 3 3 3 or dominant) of the basic chord. Notice in this w bw bw example how simple voicings made up of only ? 4 7 7 7 roots, thirds, and sevenths sound full and complete. 4 w Root w Root w Root

Ninths, Elevenths, and Thirteenths C Major Thirteenth Chord Extended C Major Scale To make jazz voicings sound jazzy, pianists often w w w w (Cmaw 13) include upper extensions (ninths, elevenths, and 4 w w w w w thirteenths) in the chord voicing. These notes are & 4 w the same pitches as the 2nd, 4th, and 6th notes of w the major scale from which the chord is built. 8 9 10 11 12 13 14 15

Note: Ninths and thirteenths can be added even though the chord symbol indicates a seventh chord.

Comping With Jazz Voicings It is important to remember that “comping” must compliment and not compete with the rest of the band. In order to achieve this, pianists and guitarists improvise chord voicings that supply the most necessary harmonic information with the least amount of notes.

When you are first learning to voice chords, it is best to start with two-, three-, or four-note combinations. These provide an adequate picture of the harmony without sounding thick or muddy. Here is a blues progression harmonized three different ways.

b Blues in B using two-note voicings (thirds and sevenths) b 7 b 7 b 7 7 b 7 b 7 B E B Fw E B w 3 bw 7 w 3 7 bw 7 w 3 4 bw w bw nw 3 w bw ? bb 4 7 ‘‘‘ 3 ‘ 7 ‘ 3 7 ‘

b Blues in B using three-note voicings (thirds, sevenths, ninths, and thirteenths) These voicings are used for exercises 37–39 and 41–45. b b b b b b 4 B 7 E 7 B 7 F7 E 7 B 7 & b 4 w ‘ ‘ ‘ ‘ w ‘ w w ‘ w 13 bw 9 nw 13 w 9 bw 9 nw 13 3 7 3 7 7 3

4 bw 7 w 3 bw 7 nw 3 w 3 bw 7 ? bb 4 ‘ ‘ ‘ ‘ ‘ ‘

Note: In a jazz chord, the Thirteenth (which is actually the 6th note of a scale) is often used in place of the fifth. b Blues in B using four-note voicings Bb 7 Eb 7 Bb 7 F7 Eb 7 Bb 7 bb 4 w w w w w w & 4 w 1 ‘ ‘ ‘ w 5 ‘ w 1 ‘ w 5 w 5 w 1 ‘ w 13 bw 9 nw 13 w 9 bw 9 nw 13 3 7 3 7 7 3

4 bw 7 w bw 7 nw 3 w bw 7 ? bb 4 ‘ ‘ ‘ 3 ‘ ‘ 3 ‘ 59271EEJazz[guts]: 12/2/08 4:36 PM Page 13

12B13 FOR PIANO ONLY

How to Build Jazz Voicings Although voicings are often provided for you in the music you play, it is important to be able to build your own voicings. Here is a simple procedure. 1. Find the notes of the chord (all the way to the thirteenth) 2. Omit the root and fifth 3. For best results put the third or seventh at the bottom 4. Add ninths and thirteenths to make the chord sound jazzy 5. Connect smoothly between chords (keep common tones if possible and move voices by step)

The Importance of Three-Note Voicings Three-note voicings are very important to jazz pianists because they can be played by one hand. Jazz pianists use three-note voicings three ways. 1. As a chord in the left hand while the right hand improvises a melody 2. As a chord in the right hand while the left hand plays a bass line (when there isn’t a bassist) 3. As a chord in the left hand while the right hand adds notes to fill out the voicing

Six Basic Three-Note Voicings By following the guidelines in the box above you can build two basic voicings for each of the three basic chord qualities (Major, Dominant, and Minor). Note: Ninths and thirteenths can be added even though the chord symbol indicates a seventh chord.

9 5 or 13 7 3 3 7 Cma7 C7 Cmi7 Cma7 C7 Cmi7 w 9 bw bw ? w 7 w b w w Piano 3 & w 5 w 13 bw 5 w 3 bw 3 b w 3 7 7 7 When chords change, keep the motion between chord voices to a minimum. Avoid voicings entirely above or below middle C. G7 C7 F7 & w w w w bw bw

Two-Handed Voicings Often pianists will need to play voicings that use both hands. These are the most commonly used when accompanying the entire band or when added excitement is needed.

Expanding Three-Note Voicings One of the easiest methods of producing excellent two-handed voicings is to expand the basic three-note voicing by adding notes in the right hand which fill out the chord. Here are three simple ways to do that:

Adding the Root Adding a Triad Built on Adding Root, Basic Three-Note in Octaves the Root of the Chord Fifth, and Ninth Left Hand Voicing b 7 b 7 B Bb 7 B Bb 7 b˙ ˙ 1 ˙ R.H. 1 ˙ R.H. R.H. 5 ˙ 5 ˙ & ˙ 1 b˙ 3 b˙ 9 ˙ ˙ 13 ˙ 13 1 ˙ 13 ˙ 13 3 3 3 3 L.H. L.H. L.H. ? b˙ 7 b˙ 7 b˙ 7 b˙ 7 59271EEJazz[guts]: 12/2/08 4:36 PM Page 14

1412A FOR BASS ONLY

Constructing Bass Lines

Although all of the exercises and songs in this book will have bass lines written in the part, it is important that young bassists know how to build simple “walking” bass lines. Remember these bass lines are for jazz which is marked “swing” and in 4/4 time.

Effective walking bass lines provide the harmony (notes of the chords) in a smooth and melodic fashion. The most important note in the harmony is always the root, however a bass line made up entirely of roots sounds boring: b b 4B 7 œ œ œ œ œ œ œ œ E 7 ? bb 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

b 7 7 b 7 b 7 B œ œ œ œ Fœ œ œ œ E B ? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

A bass line which arpeggiates chord tones sounds slightly better. It provides a complete picture of the harmony, however it does not sound smooth or melodic:

Bb 7 Eb 7 bœ bœ 4 œ bœ œ bœ œ bœ œ bœ œ œ œ œ ? bb 4 œ œ œ œ œ œ œ œ œ œ

b b b B 7 bœ bœ F7 E 7 œ bœ B 7 bœ bœ ? b œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ

Two Basic Walking Melodies – 1, 2, 3, 5 and 8, 7, 6, 5

You can build effective bass lines with two basic melodies (1, 2, 3, 5 and 8, 7, 6, 5). The numbers indicate which scale tones are to be used. Notice that each melody starts with the root (1 or 8) of the chord. Providing the root on beat 1 of each bar is an important role for the bassist. Notice that each of these melodies contain three chord tones and one scale tone. Each is harmonically and melodically strong.

1, 2, 3, 5 8, 7, 6, 5 Cma7 C7 Cmi7 Cma7 C7 Cmi7 œ œ œ œ œ œ œ œ bœ œ œ œ bœ œ œ ? 4 œ œ œ œ œ œ œ œ bœ 59271EEJazz[guts]: 12/2/08 4:36 PM Page 15

6A 15 FOR DRUMS ONLY

The Ride Cymbal In jazz marked “swing” the ride cymbal reinforces the quarter note walking bass line provided by the bass player. These two instruments supply the rhythmic foundation of swing music.

The Basic Ride Cymbal Pattern The ride cymbal pattern is usually played in a triplet feel, however it is not always strict. At slow tempos the pattern is very triplety but at faster tempos the eighth notes are played more evenly. In this book we will always notate the ride pattern in eighth notes. ÷ 4 The basic Ride Cymbal Pattern is notated as: 4 ‹‹‹ ‹‹‹ ÷ 4 3 3 The basic Ride Cymbal Pattern sounds like: 4 ‹ ‹ ‰ ‹ ‹ ‹ ‰ ‹

The Basic Swing Pattern – Playing “time” This is the basic swing pattern for Jazz Drumming (with and without bass drum). Practice each until they are “automatic”. ‹‹‹ ‹‹‹ ‹‹‹ ‹‹‹ ÷ 4 . ÷ 4 . 4 œ ‹œ œ ‹œ . 4 Œ ‹ Œ ‹ .

Achieving Variety of the Ride Pattern Although many drum parts are notated with a strictly repetitive ride cymbal pattern, in practice jazz drummers use a wide variety of cymbal rhythms. Practice each of the rhythms below so that you can execute them with steady time and good feel. When playing the exercises and songs in this book feel free to use any of the rhythmic patterns listed below.

1. ‹ ‹ ‹‹‹ 2. ‹‹‹ ‹ ‹ 3. ‹ ‹‹‹ ‹ 4. ‹ ‹ ‹ ‹ ‹ ÷ 4 . ÷ 4 . ÷ 4 . ÷ 4 . 4 Œ ‹ Œ ‹ 4 Œ ‹ Œ ‹ 4 Œ ‹ Œ ‹ 4 Œ ‹ Œ ‹

5. 6. 7. 8. ‹‹‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹‹‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹‹‹ ‹ ‹ ÷ 4 . ÷ 4 . ÷ 4 . ÷ 4 . 4 Œ ‹ Œ ‹ 4 Œ ‹ Œ ‹ 4 Œ ‹ Œ ‹ 4 Œ ‹ Œ ‹

Using the Bass Drum in the Swing Pattern When playing the basic swing pattern the bass drum can play quarter notes on all four beats of the bar very softly or it can be omitted. It is important to develop a very light bass drum as it can easily sound heavy and cover up the notes of the bass line. It is often said that the bass drum should be “felt but not heard”. 59271EEJazz[guts]: 12/2/08 4:36 PM Page 16

16 27

Charles Christopher Parker (1920–1955) who was known Dizzy Gillespie to jazz fans as “Bird” grew up in Kansas City. As a young boy he idolized Count Basie’s star tenor saxophonist, Lester Young. “Bird” became a virtuoso performer on alto sax whose solos displayed fire, brilliance, and a keen understanding of the blues. Although he died before he received the recognition he deserved, his style became widely studied and imitated.

John Birks Gillespie (1917–1993) was born in South Carolina. While touring with the Teddy Hill Band, he earned the name “Dizzy” because of his clowning and horseplay. His main influence was Roy Eldridge who was perhaps the most brilliant trumpet soloist of the swing era. In addition to being a great trumpeter,“Dizzy” was an entertaining showman. Charlie Parker His puffed cheeks and bent horn made him a recognizable figure the world over. PERFORMANCE SPOTLIGHT

99. “BOPPIN’ AROUND” – Full Band Arrangement # % Mike Steinel 4 ŒŒ . œ Œ œ bœ nœ & 4 œ #œ œ nœ œ nœ œ œ bœ œ ˙ œ œ œ œ. œ nœ ˙ . > > # 3 3 ^ ^ & œ œ œ bœ œ œ bœ œ ŒŒœ bœ nœ œ œ œ Œ œ nœ#œ œ nœ œ - œ œ œ œ nœ -œ œ 1. To Coda ﬁ 2. # . > ^ div. ^ œ#œ nœ œ œ œ œ#œ œ #œnœ ˙ Œ œbœ nœ Ó . Ó & œ œ œ œ œnœ œ œ #œnnœ œ {14} Solos # G7 w w nw#w w C7 . w w w w wbwnw w & w ’’’’ ’’’’ ’’’’ w w wnw ’’’’ # G7 nw#w w D7 G7 nw#w w D.S. al Coda w w w w wwww# w w w w w . & w w ’’’’ ww#ww ’’’’ ww ’’’’. ﬁ CODA # ^ div. œ^ Œ œ bœ nœ Ó Œ œ bœ nœ œ œ œœ œ Ó & œ œ œ œ œ nœ œ œ œ œ

100. DEMONSTRATION SOLO FOR “BOPPIN’ AROUND” # G7 œ œ nœ C7 4 Œ œ œ œ œœb Ó œ nœ ‰ j bœ ´œ bœ œ nœ Œ‰œ & 4 œ œ nœ œ œ œ #œ nœ ˙ œ œ œ œ J G7 D7 G7 # œ œ œ œ & nœ œ#œ œ nœ#œ œœb œ ˙ Œ œ œ œ œ #œ nœ œ bœ œ nœ œ jœ. ∑ œ œ œ œ # G7 ^ C7 œ œ#œ œ nœ œ j ∑ Œ œ œ bœ œ bœ œ œ bœ & œ œ#œ œ œ œ œ. œ œ œ bœ bœ # G7 D7 G7 j Œ Ó Œ‰œ œ œ œ œ œ jœ. Œ ∑ & nœ œ. œ J ´ œ nœ #œ nœ œ œ œ ˙. 59271EEJazz[guts]: 12/2/08 4:36 PM Page 17

• Grade 1.5 Correlated • Written for full band, playable with 3 Saxes, 2 Tpts., 1 Tbn., Rhythm Section Arrangements • Each arrangement is a self-contained teaching unit with exercises for Melody, Rhythm, and Improvisation • Full-length recordings included with each arrangement

ALL OF ME COMIN’ HOME BABY arr. Michael Sweeney 07011159/$40.00 arr. Michael Sweeney 07011057/$35.00

BALLAD FOR A BLUE HORN JA-DA Mike Steinel 07010955/$40.00 arr. Michael Sweeney 07010832/$40.00

BASIN STREET BLUES MISTER COOL arr. Michael Sweeney 07010951/$35.00 Mike Steinel 07011061/$35.00

BLUES FOR A NEW DAY ON BROADWAY Mike Steinel 07010836/$40.00 arr. Michael Sweeney 07010838/$40.00

BOSSA DE CANCUN PERFIDIA Mike Steinel 07011457/$40.00 arr. Dominguez/Sweeney 07011165/$35.00

BUBBERT GOES RETRO RIFFOLOGY Mike Steinel 07011055/$40.00 Mike Steinel 07011163/$35.00

BUBBERT GOES UNDERCOVER SATIN DOLL Mike Steinel 07010834/$35.00 arr. Michael Sweeney 07010740/$40.00

BUBBERT GOES WEST SO THERE! Mike Steinel 07011293/$40.00 Michael Sweeney 07011059/$35.00

BUBBERT IN LOVE SO WHAT Mike Steinel 07011459/$40.00 arr. Michael Sweeney 07010742/$40.00

BUBBERT KICKS BACK SONG FOR SAN MIGUEL Mike Steinel 07010953/$35.00 Mike Steinel 07011295/$40.00

BUBBERT’S GROOVE SUNDAY AFTERNOON Mike Steinel 07010748/$40.00 Mike Steinel 07010746/$35.00

BUBBERT TAKES THE TRAIN TAKE THE “A” TRAIN Mike Steinel 07011161/$35.00 arr. Michael Sweeney 07010925/$40.00 59271EEJazz[guts]: 12/2/08 4:36 PM Page 18

ESSENTIAL ELEMENTS JAZZ PLAY-ALONG (Jazz Standards) By Michael Sweeney and Mike Steinel A great resource for: At last, a jazz play-along book for developing players! ➺ Teaching improvisation Besides being a perfect introduction to some of the best- ➺ Combo performance known jazz standards, this book includes hints for ➺ Jazz Ensemble supplementary study improvising (every tune!), a guide to jazz articulations, a scale/chord correlation chart, and biographical sketches of key jazz figures. And if that weren’t enough, each tune comes with its own sample solo for reference or performance, and the professionally recorded CD/CD-ROM includes tempo adjustment software for students to start at their own pace and gradually “ramp” it up!

Includes: Now’s the Time • Killer Joe • Blue Bossa • C-Jam Blues • Footprints • Song for My Father • Autumn Leaves • Freddie Freeloader • St. Thomas • Blue Train. b b 00841987 B , E & C Instruments ...... $14.99 00841988 Flute, F Horn, Tuba ...... $14.99 00841989 Rhythm Section ...... $14.99 (includes bass lines, piano voicings, and drum patterns)

60 CD FREDDIE FREELOADER %: FULL PERFORMANCE ˘: RHYTHM SECTION ONLY E∫ Version By Miles Davis Medium Swing G7 C7 # ˙ . ˙ . ˙ ˙ ˙. & 4 ˙ ˙ Œ ˙ ˙ Œ Œ P

1. G7 D 7 C7 F 7 # ˙ ˙ ˙. œn . ˙# . œn . ˙. - œb > w ˙. & œ Œ .

2. D 7 . C7 G7 U # ˙# . œn ˙. œb . ˙n ˙ (D.C. Only ˙ .) & Œ

Solos (3 choruses) CD includes 2 full-length recordings of every 7 # G w wn w tune (Full Performance or Rhythm Only) & . w w w w w ’’’’ ’’’’ ’’’’

Biographical information gives insight C7 w w wb w G7 # w w w wn w w w wn w on the composer and on jazz history & ’’’’ ww w ’’’’

D.C. al Fine D 7 w w w C7 wb w F 7 Improvisation hints help students to create # w w w w w wn w w wb wn (last time) w w w w wb w w . melodies while teaching jazz chords and rhythms& wn w ’’’’

Copyright © 1959 Jazz Horn Music Copyright Renewed This arrangement © 2004 Jazz Horn Music All Rights Administered by Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 37203 International Copyright Secured All Rights Reserved

MILES DAVIS (1926–1991) Miles Davis began his career as a trumpet player with bebop legend Charlie Parker, but he quickly emerged as a leader who became and remained a trend setter for the rest of his career. He had a particular gift for finding and nurturing the most talented young musicians of the day. The list of musicians who played in his bands is a veritable who’s who of modern jazz and includes John Coltrane, Cannonball Adderley, Herbie Hancock, Chick Corea,Tony Williams, Bill Evans, and John McLaughlin.

HINTS FOR IMPROVISATION This classic blues tune uses a unique variation of the traditional blues progression. A concert Ab7 chord is used in the 11th and 12th measure, where a Bb7 would be more typical. Use the scales shown as a reference, or use either of the blues scales throughout. 59271EEJazz[guts]: 12/2/08 4:36 PM Page 19

By Michael Sweeney and Mike Steinel

• Economical – 15 easy jazz charts in one book • Written for full band, playable with 3 Saxes, 2 Trumpets, 1 Trombone and Rhythm Section • All arrangements correlated to the acclaimed Essential Elements for Jazz Ensemble series – 15 repertoire pieces designed specifically to accompany your jazz curriculum! • Series includes optional books for Flute, Clarinet, F Horn and Tuba • CD includes full-length recordings of every chart

From Hal Leonard’s acclaimed series, here is a fantastic collection of arrangements in a variety of styles. As a bonus feature, each arrangement includes a teaching unit with exercises in melody, rhythm and improvisation. A valuable teaching tool in addition to filling your programming needs!

Includes: All of Me • Ballad for a Blue Horn • Basin Street Blues • Blues for a New Day • Bubbert Goes Retro • Bubbert’s Groove • Ja-Da • Mister Cool • On Broadway • Perfidia • Satin Doll • So What • Song for San Miguel • Sunday Afternoon • Take the “A” Train.

07011461 Conductor...... $24.99 07011472 Trombone 3...... $6.99 07011462 Alto Sax 1 ...... $6.99 07011473 Guitar...... $6.99 07011463 Alto Sax 2 ...... $6.99 07011474 Piano ...... $11.99 07011464 Tenor Sax 1...... $6.99 07011475 Bass...... $6.99 07011465 Tenor Sax 2...... $6.99 07011476 Drums ...... $6.99 07011466 Baritone Sax ...... $6.99 07011477 C Treble/Vibes ...... $6.99 07011467 Trumpet 1 ...... $6.99 07011478 Flute ...... $6.99 07011468 Trumpet 2 ...... $6.99 07011479 Clarinet ...... $6.99 07011469 Trumpet 3 ...... $6.99 07011480 F Horn ...... $6.99 07011470 Trombone 1...... $6.99 07011481 Tuba ...... $6.99 07011471 Trombone 2...... $6.99 07011482 CD...... $14.99 59271EEJazz[guts]: 12/2/08 4:36 PM Page 20

ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE Complete Order Information ESSENTIAL ELEMENTS JAZZ ENSEMBLE METHOD 00841357 Conductor...... $29.99 00841354 Bass...... $15.99 b 00841347 E Alto Saxophone...... $12.99 00841355 Drums...... $15.99 b 00841348 B Tenor Saxophone...... $12.99 00841356 C Treble/Vibes...... $12.99 b 00841349 E Baritone Saxophone...... $12.99 b Also Available: 00841350 B Trumpet...... $12.99 00841620 Flute...... $12.99 00841351 Trombone...... $12.99 00841621 Clarinet...... $12.99 00841352 Guitar...... $15.99 00841622 F Horn...... $12.99 00841353 Piano ...... $15.99 00841623 Tuba...... $12.99

ESSENTIAL ELEMENTS JAZZ PLAY-ALONG (Jazz Standards) b b 00841987 B , E & C Instruments ...... $14.99 00841988 Flute, F Horn, Tuba ...... $14.99 00841989 Rhythm Section ...... $14.99

CORRELATED ARRANGEMENTS (Grade 1.5) 07011159 All of Me (Sweeney) ...... $40.00 07011057 Comin’ Home Baby (Sweeney) ...... $35.00 07010955 Ballad for a Blue Horn (Steinel) ...... $35.00 07010832 Ja-Da (Sweeney) ...... $35.00 07010951 Basin Street Blues (Sweeney)...... $35.00 07011061 Mister Cool (Steinel) ...... $35.00 07010836 Blues for a New Day (Steinel) ...... $35.00 07010838 On Broadway (Sweeney) ...... $35.00 07011457 Bossa de Cancun (Steinel)...... $40.00 07011165 Perfidia (Sweeney) ...... $35.00 07011055 Bubbert Goes Retro (Steinel)...... $35.00 07011163 Riffology (Steinel)...... $35.00 07010834 Bubbert Goes Undercover (Steinel) ...... $35.00 07010740 Satin Doll (Sweeney)...... $35.00 07011293 Bubbert Goes West (Steinel) ...... $40.00 07011059 So There! (Sweeney)...... $35.00 07011459 Bubbert in Love (Steinel) ...... $40.00 07010742 So What (Sweeney)...... $35.00 07010953 Bubbert Kicks Back (Steinel)...... $35.00 07011295 Song for San Miguel (Steinel) ...... $40.00 07010748 Bubbert’s Groove (Steinel) ...... $35.00 07010746 Sunday Afternoon (Steinel) ...... $35.00 07011161 Bubbert Takes the Train (Steinel) ...... $35.00 07010925 Take the “A” Train (Sweeney) ...... $35.00

THE BEST OF ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE 07011461 Conductor ...... $24.99 07011472 Trombone 3 ...... $6.99 07011462 Alto Sax 1 ...... $6.99 07011473 Guitar ...... $6.99 07011463 Alto Sax 2 ...... $6.99 07011474 Piano ...... $11.99 07011464 Tenor Sax 1 ...... $6.99 07011475 Bass ...... $6.99 07011465 Tenor Sax 2 ...... $6.99 07011476 Drums...... $6.99 07011466 Baritone Sax...... $6.99 07011477 C Treble/Vibes...... $6.99 07011467 Trumpet 1...... $6.99 07011478 Flute ...... $6.99 07011468 Trumpet 2...... $6.99 07011479 Clarinet...... $6.99 07011469 Trumpet 3...... $6.99 07011480 F Horn...... $6.99 07011470 Trombone 1 ...... $6.99 07011481 Tuba ...... $6.99 07011471 Trombone 2 ...... $6.99 07011482 CD ...... $14.99 A Comprehensive Method for Jazz Style and Improvisation

By Mike Steinel By Mike Steinel A Comprehensive Method for Jazz Style and Improvisation